installation art – Page 35

September 6, 2021December 6, 2024, by Etty Yaniv

Marya Kazoun: Trans-mutational Materiality#

*Steady Breath*, 2003, installation/ performance, bamboo, wool, fabric, thread, 320 cm x 300 cm x 228 cm , photo credit: Margerida Correia

Each of Marya Kazoun’s sculptures, performances, and installations evolves into its own open-ended narrative, deriving from the artist’s personal journey—childhood memories and cultural background. Throughout her versatile body of work, Marya Kazoun plays with the concepts of time and space by blurring their boundaries, excavating a wide array of imagery from the realms of the collective and the subconscious to form rich and poetic installations evoking parallel universes. The eclectic materials she is using in her work—fabric, bamboo, Murano glass, plastic, paper, and whatever inspires her—assume new life and new meaning within her idiosyncratic, imaginative, and elaborate visual vocabulary.

September 4, 2021November 2, 2022, by Art Spiel

Louisa Pancoast at Main Window DUMBO

Previewing – Pinch Back

A painting on a wall Description automatically generated with low confidence

Louisa Pancoast will perform her movement-based art installation Pinch Back at Main Window in DUMBO September 10^that 7:30pm. This will be the final performance on view at this non-profit public art space in Dumbo. The performance was commissioned by Main Window as a companion piece for Evan Paul English’s Inexterior.

August 30, 2021November 2, 2022, by Art Spiel

‘Til The Moon Turns Pink at SPANTZO

Judy Giera and Nathaniel Garcia In Conversation

In her first solo exhibition at SPANTZO Gallery, Judy Giera, explores the nuances of girlhood and the expectations of the feminine through painting, video, and performance. Giera’s bright colors and synthetic materials reference Barbie and her Dream House as well as the patriarchal conceits of the action painters of the 1950s. Judy Giera and SPANTZO founder and director, Nathaniel Garcia, share their reflections on the exhibition.

August 26, 2021August 18, 2021, by Etty Yaniv

Amy Talluto: Moments of Light in the Forest

Amy Talluto in her studio in Upstate NY, 2021, Photo courtesy of the artist

Amy Talluto’s paintings and collages depict landscapes, ranging from representational wood-scapes to more abstracted forms reassembling a hybrid of landscape and still life. Darren Jones wrote in Artforum that Amy Talluto’s series of oil paintings from 2017 produce “symphonic arrangements of green, ranging from deepest phthalo to honeyed laurel. Dashes of pink, crimson, and yellow also crop up, to shimmering effect. The technical proficiency of her sumptuous compositions, based on forests around the artist’s Catskills home, parlays them into sites of ethereality.” (Darren Jones, Artforum). Recently, during the pandemic, the artist started exploring collage, resulting in bold cutouts, and consequently paintings, where the previously hinted pinks, yellows and crimsons become central alongside the blues and greens. Amy Talluto participates in The Upstate Art Weekend show at the rambling old manufacturing building in High Falls, NY. This art event was initiated by Todd Kelly, Alex Gingrow and Shanti Grumbine, who have studios in that building and have invited over 30 artists to show their work there from Aug 27-29, 11am-6pm.

August 25, 2021July 24, 2021, by Susan Hoffman Fishman

Seeing Water

A picture containing text, swimming, ocean floor

Description automatically generated — *Gulf of Main: Phytoplankton Breathing III*, detail. Oil and phosphorescent pigments on canvas, 48” x 16,” 2017.

Krisanne Baker defines herself as a multi-disciplinary eco-artist, water activist, citizen scientist, and educator. In all of these disciplines, she has devoted herself to researching and revealing the condition and beauty of our rivers, streams, and oceans, and to advocating for their protection.

August 18, 2021July 23, 2021, by Susan Hoffman Fishman

On Water as Polluted Body, Place of Solace, and Life Force

A picture containing text, transport

Description automatically generated — sTo Len, detail of *FOAM (FutureOfAMaterial)* installation. Gomitaku print, sumi ink on linen, 64” x 360,” 2020.

Since June of 2017, artists Jarrod Cluck, Gina R. Furnari, sTo Len, Leslie Sobel and Rachel Wojnar have been on an intense physical, emotional, spiritual, and art-making journey, which culminated with their MFA Thesis Exhibition, Confluence, on view at the Joseloff Gallery of the Hartford Art School, University of Hartford (Connecticut) from September 10-19, 2020. They are the third cohort to complete the Nomad Interdisciplinary MFA program. Founded by director Carol Padberg in 2015, the program uses an innovative field-based model and offers a curriculum that includes art, ecology, the study of place, indigenous knowledge systems, and technologies. Encompassing two hands-on residencies per year, the Nomad MFA provides courses in El Salvador; New York City; New Mexico; Mexico; Oakland, California; Miami; and Minneapolis.

August 16, 2021August 16, 2021, by Etty Yaniv

Todd Bartel: an Omni-coupler

A person standing in front of a blackboard

Description automatically generated with medium confidence — *Todd Bartel in front of Pollination of Devonia, (Synterial series), 2002, gallery talk, L(and) exhibition, Room 83, Watertown, MA, photo courtesy of Ellen Wineberg*

Todd Bartel came to serious collage because of an assignment he received on the first day of his first class as a freshman at RISD. He recalls the desks were strewn with magazines, and as soon as the course started, Professor Hardu Keck gave the students a prompt, “Create five collages that work with the following sentence: Surrealism is the chance happening of finding an umbrella and a sewing machine on a dissecting table.” Keck did not mention he was quoting Andre Breton, who was quoting Comte de Lautréamont (Isidore Lucien Ducasse). He expected his students to work with the strangeness of visual combination and found imagery. That was Todd Bartel’s introduction to Surrealism and chance coupling. He fell in love with collage immediately, coming up with forty-five collages by the first week. One of the key elements that draws him to collage is that it can involve a vast array of analog and digital technologies. “I consider myself an Omni-coupler,” he says.

August 12, 2021November 2, 2022, by Art Spiel

Dream-Restart-Experience at PS122 Gallery

Annette Cords and Becky Brown In Conversation

A picture containing indoor, floor, wall, gallery

Description automatically generated — Dream-Restart-Experience Installation View, photo courtesy of Daniel AnTon Johnson

The two-person show Dream-Restart-Experience at PS122 features collaborative and individual works by Annette Cords and Becky Brown. The two artists’ collaboration resulted in a wallpaper using three original alphabets, and vinyl lettering mounted on the gallery windows. Cords’ tapestries interlace traditional weave structures with a twist—involving urban mark-making and found text. Brown’s paintings embody artifacts of online culture while questioning their value. The show runs through August 22^nd, 2021.

August 6, 2021August 10, 2021, by Etty Yaniv

Instituting The Re Institute in Millerton

In Dialogue with Henry Klimowicz, founder and director

The Re Institute empty, 2021, photo courtesy of Henry Klimowicz

The Re Institute is an extension of Henry Klimowicz’s studio, a very large 1960s dairy barn outside of Millerton, New York. About 11 years ago sculptor Henry Klimowicz started the gallery as a response to living in the “center of nowhere”, as he puts it. The artist says that the gallery allows him to have extended working relationships with other artists and their work. “I try not to know what a show will be about before it opens and I get to spend the length of the exhibition becoming aware of all of each show’s nuances,” he says about his curatorial process. A normal season at Re Institute includes 4 to 5 shows, which mostly feature 2 to 3 artists showing in the large space upstairs and another person downstairs. “I try to get each artist to have a specific reason for showing in the gallery outside of the possibility of selling work,” he says. This fits his vision of Re Institute as a non-profit institution. It’s important for him that the featured artists will find reasons to use the space uniquely. “There has to be something in the process of showing an artist that brings depth to the artist’s understanding of their own work or the process of exhibiting their work,” he says. These different ways of interacting with each artist have become the most important aspect of the space for him.

July 28, 2021July 6, 2021, by Etty Yaniv

Common Frequencies / Frecuencias Comunes at BioBat Art Space

In Dialogue with Elisa Gutiérrez Eriksen

Elisa Gutiérrez in conversation with Miguel Gleason, Director of the Mexican Cultural Institute in NY, at the opening of Common Frequencies. Background video shows Marcela Armas’ video piece “Tsinamekuta”. Image: @onwhitewall

Common Frequencies brings together a group of Mexican artists whose work explore the intersection of art and science through sound, urban ecology, language, and collective imageries through performance, installation, photography, sound, and drawing. The exhibition will be accompanied by a series of free bilingual educational programs that encourage the participation of families. The exhibition runs through October 16^th. 2021.